It is a truism that Chicago collectors have long had a passion for Surrealism. Although this was evident in The Art Institute of Chicago's galleries of twentieth-century painting and sculpture, it was only with the reinstallation in 1993 of the museum's. . .

By nature a modest, self-effacing woman who preferred being in the background, Mary Reynolds nonetheless found herself at the center of the Surrealist movement, as both artist and advocate. As the artist Marcel Duchamp described her. . .

In December 1934, there appeared in the Surrealist journal Minotaure a two-page spread introducing French readers to the erotic imagination of the German artist Hans Bellmer. Eighteen photographs Bellmer had taken of a life-size, female mannequin are grouped. . .